電影《變態者意識形態指南》是由斯洛文尼亞的哲學家、拉康精神分析專家斯拉沃熱‧齊澤克編寫劇本及主演、由蘇菲‧費因斯(Sophie Fiennes)執導。如齊澤克的另一部《變態者電影指南》一樣，它透過穿梭於著名的電影場景之間來勾勒出一個理解藝術和世界的精神分析理論框架，是某種意義下一部「紀錄片」。

Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang (YIDFF 2005), carving out the cruelty of history, and questioning the precarious existence of the nation-state.

What is a revolutionary? The writings of Marx and Engels both use the metaphor of revolution as the "locomotive of history". Is, then, the revolutionary a standard bearer of progress, a pace setter, a frontrunner? 　　None of the above, because in a world ruled by a turbo "devaluation" where only the new has market value, where commodity production spirals out of control, the "train of time" is a deadly trend. Alexander Kluge instead opts for Walter Benjamin's idea of the revolution as mankind "pulling the emergency brake". We must hold up the torch of reason to the problems at hand, and the true revolutionary is therefore the one who can unite future and past, merging two times, two societies, the artist who montages stories and history. And so we come to Alexander Kluge and his art. 　　Kluge's monumental "News from Ideological Antiquity. Marx – Eisenstein – Das Kapital" is a 570-minute film available only on DVD which is based on the work of two other montage artists, James Joyce and Sergei Eisenstein. These two met in 1929 to discuss filming Marx's "Kapital" which had been written 60 years beforehand. Now, eighty years on, Alexander Kluge joins the party and takes up where Eisenstein failed, because neither Hollywood's capitalists nor Moscow's Communists were prepared to send the necessary funds his way. 　　Most of the film consists of involved discussions between Alexander Kluge and other Marx-savvy writers and artists. Poet and essayist Hans Magnus Enzensberger compares the soul of man with the soul of money, author Dietmar Dath explains the meaning of the hammer and sickle on the Soviet flag and, from the standpoint of the Stoics, leaps (rather than marches at an orderly pace) into industrialisation, the actress Sophie Rois makes an impassioned appeal for Medea, differentiating between additive and subtractive love, filmmaker Werner Schroeter stages a Wagner opera featuring the "rebirth of Tristan in the spirit of battleship Potemkin", philosopher Peter Sloterdijk talks about Ovid and the metamorphosis of added value, a man at the piano analyses the score of a strike song while workers and factory owners face off in an opera by Luigi Nono, the poet Dürs Grünbein interprets Bert Brecht's aesthetisation of the Communist manifesto in swinging oceanic hexameter, cultural scientist Rainer Stollmann emphasises the myriad meanings of Marx's writings as science, art, story telling, philosophy, poetry. And social theorist and philosopher Oskar Negt looks sceptical when asked whether it's possible to find the right images for all this stuff when you're less interested in pedagogical content than the encompassing theory. 　　Scholarly stuff, wide and deep in scope, yet bold and playful. But even if your own study of Marx is no more than a faded memory, it is hugely enjoyable to watch and listen to these experts as their "thinking gradually deepens through talking" and to watch Kluge interject, hopping adroitly from one thought to the next, surprising his interlocutors, catching them off balance, sending them off on new trajectories. We never know how much agreement and variance is hidden in Kluge's objections. His a Socratic approach to questioning, curious, open to everything, and so wonderfully subtle that at the end always find yourself wondering whether he had been driving at a particular target all along. Alexander Kluge is a great manipulator, an industrious loom, who weaves the most far-flung observations into his system. 　　He is not filming "Das Kapital" but researching how one might find images to make Marx's book filmable. The quest is the way is the destination. The model for his underlying structure is Joyce's "Ulysses" where the entire history of the world is packed into a day in the life of his hero, Bloom. In Kluge's hands this becomes a collage of documentary, essayistic and fictional scenes, interviews and still photos, archive images of smoking factory chimneys, time-lapse footage of pounding machines and mountains of products, diary entries and blackboards scribbled with quotes referencing constructivism and concrete poetry. 　　Coincidences, collisions. Back to back with a short film in which director Tom Tykwer stirs things up in a Berlin street, two readers struggle to recite the following sentence, slipping in and out of synch with increasing desperation: "Whenever real, corporeal man, man with his feet firmly on the solid ground, man exhaling and inhaling all the forces of nature, posits his real, objective essential powers as alien objects by his externalisation, it is not the act of positing which is the subject in this process: it is the subjectivity of objective essential powers, whose action, therefore, must also be something objective." 　　No sooner are we shown "how the history of industry and the established objective existence of industry are the open book of man's essential powers, the perceptibly existing human psychology" than we have the history of capitalism is explained to us as a giant extension of the fairytale about the devil with the three golden hairs – every thing is a human being being cast under a spell. And the beginning of Mae West's film career runs parallel to the leap into industrialisation – a form of aesthetic slapstick in which not cream pies fly through the air but ideas and concepts. 　　Unlike Eisenstein, who was driven to desperation by the herculean task of cutting the 29 hours of "October" into a 90-minute film version and turned to drugs into the process which left him temporarily blind, Kluge cooly sticks to his guns and his nine hours. And it's not a minute too long. 　　(This article was originally published in Tagesspiegel on 8 January 2009. Helmut Merker is a film critic.)

The end of the 20th Century was considered the end of history, even the end of utopias. With the fall of the Berlin Wall, liberal-democratic capitalism was finally accepted as the preferred socio-political system. Now, in the first half of the 21st Century, the last big utopia of the 1990s has disintegrated. We are faced with the calamities of exploding global warming, new wars that threaten to get nuclear, September 11, financial meltdown, digital control over our lives depriving us of our freedoms, and political populism driven by a depth of cynical self-interest that reveals the unstable nature of democracy itself. Slavoj Žižek is the closest thing philosophy has to a superstar. He returns to the screen with The Pervert’s Guide to Utopias, the third in the celebrated series of films directed by Sophie Fiennes. Through his unique analysis of classic films, mainstream blockbusters, cult B-movies, popular TV series, music videos and political and current events, Zizek provides the essential cognitive mapping for our predicament in these apocalyptic times. “With the rise of new threats, utopias were mostly replaced by dystopias which brought to an end the ongoing catastrophic tendencies,” says Zizek. “Movies became obsessed with some version of global apocalypse and a miserable post-apocalyptic life. But what one should take care to notice is that efforts to depict a new post-apocalyptic society often indulge in imagining a new authentic society of close personal links, without alienated state institutions. One man’s dystopia can be another man’s utopia. For today’s new populist Right, a society where sexism and racism are prohibited can only be a new totalitarian order. Today sexuality is permeated by opposing utopian visions of a new conservative order or the new ‘non-binary’ possibilities. Anarchist utopians think if we abolish the state authority, a new global solidarity will emerge.” Žižek’s matrix of ideas and Fiennes’ visually inventive direction delivers entertainment and revelation in equal measure. The Pervert’s Guide to Utopias does not offer a simple solution or seek to impart some dogma: it enables viewers to make their own choices and, above all, to become aware of the true implications of those choices.

A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.

影片开头，一声枪响，睡梦中的男主角（简称A）被惊醒，也惊飞了一只猫头鹰，然后森林又归于平静。黝黑的森林远处的古堡庄重而幽静，唯一明亮的是从窗户中透出的灯光。几个镜头快速而又沉稳，把开头气氛渲染的非常到位，瞬间让观者察觉有一个奇特的故事在等待着他。 　　接着，就是出现了油画，算是故事的展开，导演为画专门打了一束光营造气氛，不由分说，这幅油画在这部电影中有至关重要作用。屋内的气氛不像外面那样阴森，几个绅士围着圆桌在享用烛光晚宴，画面正中间桌子的远角，一位女士穿着一身洁白的裙子，显然，她是主角（简称D）。烛光映衬下，一桌人仿佛也是油画一般。被枪声惊醒的A此时也围坐在圆桌旁，并扭头望向D，D显得有些尴尬，并随手拿了一块肉喂了桌下的一只狗，这个动作也很让人记忆犹新。看到这里，大家会以为A和D也许会有一段艳遇。 　　A很配合的坐在床上遐想，接着走进一闪露着光的门，不错，门内正是D，而且是全裸着身子，更让大家开始揣测。注意此时，在D的后面，一只狗趴着。A没有理会，继续向前，这时狗的一声嘶叫让D发觉有人进来，这只狗似乎成了D的守护者。当A和D面面相望时，却没有了后话，D的反应留下了一个疑问。 　　A双眼恐怖的望着将要熄灭的火焰，他看到了什么？壁橱里的火熄灭了，A又进入了梦乡，一头鹿出现在了A面前，它又是什么，看到这里观众也许会一头雾水。接着墙上的花纹开始变化，下水口冒出的绿藻，墙角也莫名的冒出的植物。鹿似乎在攻击他，他显得无比痛苦，接着，可怕的事情发生了。D背上长出了鹿角，痛苦的A惨叫着，蜷缩已经变味森林的房间中，被鹿角包围起来。第二天清晨，房间恢复原状，D却不见了。 　　森林里又出现了狗，这次不是一只而是一群，它们似乎在追逐着什么。在这群猎狗后面，一直举着猎枪的猎人尾随而出，他看到了目标。一声枪响，一个树林的全景，回到了开头。似乎到这里也可以作为一个结点，但是故事还没有结束。 　　餐座上，绅士们捏着刀叉细心的切着盘中的肉，D也在其中，面含微笑的她这次主动的看向了A，但是A并不在。鹿头，挂在墙上。还是那幅画。 　　一个很诡异的故事，每个镜头似乎都有象征含义。同桌而餐的D窥探了一眼A，罪恶似乎从这里未开始。没有受到惩罚的D夜不能寐，进一步窥探到了A的裸体，悲剧的命运和诡异的变化让他得到了变为动物的惩罚，更为残忍的是被猎人杀死后，竟然成为自己桌上的美餐供人品尝。这不合理也不现实的故事让人看着很不可思议。这部影片中有很多象征性的事物：三次出现的狗、变换的壁画和生长的植物、被射杀的鹿、墙上的油画。其实在影片的开头就交代了故事的内容，开头镜头拉近油画，结尾镜头拉离油画。这幅画是提香著名的《戴安娜与阿特泰恩》，画的内容是希腊神话中的故事：猎人阿特泰恩撞见了狩猎女神戴安娜裸浴，戴安娜将其变为一头雄鹿，最后猎人惨死在自己猎狗口中。提香在其作品中描绘了猎人撞见女神的一瞬间。导演将神话中的内容搬到现实中，而且做了改编。原神话只是猎人阿特泰恩，A则被熟识的人分食，似乎有意加重这种惩罚与情感冲击。 　　这部微电影制作精良，镜头考究，这里不细说。导演对这种题材的把控能力和风格体现非常完美，不但营造了悬疑的气氛，而且处处流露着庄严与神圣。很多镜头都是正面拍摄，比如森林、油画、鹿头，这些庄重的塑造形式似乎有一种仪式感。这段希腊神话中提现了神的能力和残酷，也体现了人的欲望与受惩，一位艺术家专门以这个题材制作了一张照片——从锁眼中看到浴池中的裸女。都是在体现人的窥探欲，而且这种窥探欲如果没有得到告诫，就会愈演愈烈，就像是A在餐桌上的一撇到后来的窥探。不过希腊神话中的故事最多的还是体现神的威严，告诫人神的不可侵犯性和禁止对裸体的窥探，算是禁欲的一种教化。另外，猎人的猎狗也有一定的象征性，猎人被变为鹿后，狗将猎人撕咬而死，这种错杀不仅代表了对猎人惩罚的残酷，也代表了对作为猎人伙伴的猎狗的残酷，就像是分食A的“无知者”一样，他们也在被惩罚。而在电影中，导演把狗处理成了女神的守护者。回到现实，我们现在所得到的，最有普遍性的就是人之欲望。导演深谙观众对裸体的欲望的惩罚发挥到了极致，也许有他更深层次的价值观，这就不为小编所知了。 　　影片中文名字《变态》（或许有更好的翻译），变态可以指男主角身体的变化，也可指女主角报复手段的残忍。总体来说，这应该是反应神话题材的神级作品。

ちょっぴりへんたい的な女子高生の日常を描いたニコニコ静画連載中の漫画『へんたい！』がついにアニメ化！ 2014年夏アニメ、隔週で1クール配信です。（セーラームーンと同じ感じ） 次回は7/28（月）配信！

At the end of the ’90s, a caterpillar was a tadpole’s only friend.

This surreal comedy makes effective use of pixilation (live action stop-motion animation) in the story of an everyday man who finds unusual ways of spending his time while riding in an apartment elevator. He discovers that he can remove and re-tie his shoes in the time it takes to travel to the ground floor. Meeting self-imposed challenges that include undressing and dressing in the space of nine floors, he conjures up more and more feats to accomplish during his daily trip. His secret life transforms his existence from banality to oblivion.